Weigold&Böhm


  • Lisa Batiashvili

    Lisa Batiashvili
  • Denys Proshayev

    Denys Proshayev
  • David Garrett

    David Garrett
  • Concerto Köln

    Concerto Köln
  • Nicola Benedetti

    Nicola Benedetti
  • Venice Baroque Orchestra

    Venice Baroque Orchestra
  • Jos van Immerseel

    Jos van Immerseel
  • Philippe Jaroussky

    Philippe Jaroussky
  • Giuliano Carmignola

    Giuliano Carmignola
  • Miguel Harth-Bedoya

    Miguel Harth-Bedoya
  • Anima Eterna Brügge

    Anima Eterna Brügge
  • Chouchane Siranossian

    Chouchane Siranossian
  • Tal & Groethuysen

    Tal & Groethuysen
  • Alexandre Tharaud

    Alexandre Tharaud
  • Andrea Marcon

    Andrea Marcon
  • Rundfunk-Sinfonieorchester Berlin

    Rundfunk-Sinfonieorchester Berlin
  • Raphaela Gromes

  • Jean-Yves Thibaudet

    Jean-Yves Thibaudet
  • Jean Rondeau

    Jean Rondeau
  • Javier Perianes

    Javier Perianes
  • Russische Nationalphilharmonie

    Russische Nationalphilharmonie
  • Shao-Chia Lü

    Shao-Chia Lü
  • La Cetra Basel

    La Cetra Basel
  • Thibaut Garcia

    Thibaut Garcia
  • Katia & Marielle Labèque

    Katia & Marielle Labèque
  • Regensburger Domspatzen

    Regensburger Domspatzen
  • Ensemble Artaserse

    Ensemble Artaserse

Katia & Marielle Labèque: US-Premiere „In Certain Circles“ von Nico Muhly in der Carnegie Hall

Katia & Marielle Labèque spielten am 27. April 2022 die US-Premiere des Werks „In Certain Circles“ von Nico Muhly in der Carnegie Hall in New York. Unterstützt wurden sie von New York Philharmonic unter Jaap van Zweden.

Das Stück ist ein Auftragswerk von Orchestre de Paris, New York Philharmonic, Düsseldorfer Symphoniker und Royal Liverpool Philharmonic.

In Deutschland dürfen wir uns auf die Premiere am 28., 30. und 31. Oktober 2022 freuen, mit den Düsseldorfer Symphonikern unter Adrien Perruchon!
Weitere Informationen und Karten unter folgendem Link.

Nico Muhly schreibt über das Konzert:

"In Certain Circles is in three movements. The first contains a little fragment of a piece by Rameau, l’Enharmonique. The movement is about uncovering it through various disguises and lifting of those disguises. From time to time, the tune from the Rameau appears and quickly vanishes; while it’s not always meant to be fully audible, there should be a sense of l’hantologie here, where the simple intervals of the Rameau permeate the texture in oblique and sometimes obscure ways. A very simple gesture permeates all three movements: a rising second, forcefully declared by the brass in the very first bar; the brass often insists on these intervals even when they antagonise the pianos.

The second movement is a pair of dance-suite movements: a sarabande and a gigue. I tried to call on my knowledge of French baroque music to make something I’ve never done before, which is to say, music which more or less obeys the rhythmic rules of a received form. Here, the piano go in and out of rhythmic unison with one another — a little mechanical, a little expressive. While the sarabande is quite supple, the gigue is explicitly mechanical and a bit unstable. The normal sets of 6 and 12 beats are oftentimes interrupted with unwelcome little hiccoughs of 4 or 5 beats, creating a sense of anxiety despite the explicitly diatonic harmonies.

The third movement begins with the pianos in completely different rhythmic worlds from one another. ‘Disconnection’ is the guiding musical principle here; the music shifts quickly from very dark to very bright, from jagged rhythms to simple quavers and semiquavers, and from delicate to quite violent. Every playful moment is offset by something severe or mechanical. After a relatively joyful pulse-based episode, we perceive a final spectre of l’Enharmonique and the movement ends abruptly. In Certain Circles is dedicated to Katia and Marielle Labèque."

(https://www.labeque.com/projects/1118/new-concertos, abgerufen am 28.04.2022)